While there have been numerous early inventions of the electric guitar, George D. Beauchamp's 1939 patent (U.S. Pat. No. 2,152,783 filed May 26, 1936) can be seen as the first design incorporating a magnetic induction transducer as a means to suppress the problem of acoustic feedback from the amplifier and loudspeaker. Feedback occurs when the guitar transducer senses the amplified signal through the loudspeaker as being as loud as, or louder than, the vibrating string of the guitar. It is still possible to apply enough gain or to place the guitar close to the loudspeaker and create an unstable feedback howling sound, but the magnetic induction pickup has proven to be the most effective at keeping feedback under control. Unfortunately, the electronic signal of a magnetic induction pickup lacks the high frequency structure to reproduce the acoustic guitar sound one hears without amplification. Vibration sensors can be used which offer a closer sound image than the magnetic induction pickup, but the vibration signal is not the same as the acoustic signal and the vibration signal is still sensitive to uncontrolled acoustic feedback. Donnell (U.S. Pat. No. 5,614,688, Mar. 25, 1997) claims a guitar pickup mounting incorporating an internal foam disc to separate the sound from the guitar sound hole from an external amplified loudspeaker to suppress feedback. Such a large foam disc also degrades the sound of the acoustic guitar and has limited effectiveness in suppressing feedback induced vibration in the guitar body. Later Donnell addresses the feedback problem (U.S. Pat. No. 8,035,025, Oct. 11, 2011) using a pair of microphones separated in space, vibration dampened, and with a predetermined time delay added to one microphone of ⅔ of a millisecond as a means of suppressing undesirable feedback from a guitar amplifier. The microphone separation and time delay are large enough to suppress some feedback frequencies but can also create new feedback at different frequencies. Using multiple microphones on complicated sound sources such as grand pianos and drum kits has long been well understood by those skilled in the art of recording music to enhance desirable sounds with particular combinations of microphones, signal phases, and mixing with other transducers such as vibration sensors. This tonal effect is exploited by Ryan (US Patent Publication No. 2012/0060669, Mar. 15, 2012), Truchsess (US Patent Publication No. 2013/0312590, Nov. 28, 2013) and Truchsess (US Patent Publication No. 2012/0060670, Mar. 15, 2012). In the case of cymbals, Ryan and Truchsess note that detecting the out-of-phase vibrations using out-of-phase microphones on opposite sides of the cymbal enhance the more desirable out-of-phase rocking motion of the cymbal while suppressing the less desirable in-phase flapping motion of the cymbal. This is entirely a tonal effect and has nothing to do with feedback suppression. Because the microphone spacing is much more than a wavelength for the frequencies of interest, it can only suppress feedback a particular frequencies while the possibility of feedback at other frequencies is enhanced.